David Simon and George Pelecanos’s drama about Times Square, the sex trade and capitalism "seems to be fast-forwarding through history to get to the parts that interest them most: Season one was set in 1971, season two jumped ahead to 1977, and the new third and final season starts in the ramp-up to New Year’s Eve 1984," says Matt Zoller Seitz. "It’s an appropriate strategy for a series that was destined to hit the VHS era eventually, and with the opening credits of season three, bam, here we are. The cutting between images of sex, real estate, and police violence is faster, verging on early MTV; the picture is fuzzier, with moth-size chunks of grain swarming an otherwise clear picture; and the characters who have immersed themselves in a particular type of filmmaking — pornographic, erotic, exploitative — are simultaneously elated and unnerved by the future that has already surrounded them." Seitz adds: "The time jumps on The Deuce suggest that the show has a grander endgame in mind: a portrait of the endless churn of American (or even global) economic history that happens to have Times Square as its focal point. Now that we’re starting to understand the breadth of the canvas, the show feels more like John Dos Passos’s sprawling 'USA trilogy' of novels (a key inspiration on Mad Men) than anything Simon, Pelecanos, and their regular collaborators (including executive producer Nina Kostroff-Noble) have made previously. Contextualizing observations about history, politics, and culture merge (sometimes in a too homework-y way) with down-and-dirty accounts of the characters trying to survive from one day to the next."